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"The masters of the Bolognese school going to Rome and other parts of Italy, their successors at Bologna contented themselves by retailing the several manners of the three Carracci Guido, Domenichino and Guercino. This system of retailing continued to descend from master to pupil, until the school of Bologna sunk into irrecoverable imbecility.
Respecting the merits of both pictures the testimony of Agostino Carracci should not be omitted; when he viewed them in the possession of the Duke of Ferrara he declared that he considered them the first in the world, and that no one could say he was acquainted with the most marvellous works of art without having seen them.
Lucia. St. Michaelina. These are the best pictures of BAROCCIO already exhibited. His colouring is enchanting. It is entirely transparent and seems as if impregnated with light: however, his forms, and every thing else, bespeak the mannerist. N deg. 721. The Resurrection of Christ. The Nativity of Christ. Christ laid in the tomb. Of the CARRACCI, ANNIBALE is the most perfect.
In spite of opposition this academy became more and more popular, and before long all the other schools of art in Bologna were closed. The decorum and well-grounded study of Tibaldi, the invention of the learned Primaticcio, and a little of the grace of Parmigiano." This "patchwork ideal," as Kugler calls it, was, however, but a transition step in the history of the Carracci and their art.
He had a great love of color and a native instinct for it; with perhaps more appreciation than invention, his imagination has something very personal in the zealous enthusiasm with which he exercised it, though I think it must be admitted that his reflections of Tiepolo, Titian, Tintoretto and his attenuated expansions of Michael Angelo's condensed grandiosity, recall the eclecticism of the Carracci far more than that of Raphael.
We pass to the Italian Eclectics, the once admired but now depreciated Carracci, Guido Reni and Domenichino. 1613, St. Cecilia, is a famous picture by the last named. Sebastian, a careful and pleasing study of the nude.
"One great lack of the human race is a spirit of originality. We all go to those who have thought and wrought before us, and hash and rehash their material. But few tell what they are doing so plainly as did the Carracci. The one great want in their painting is that of any definite end or aim."
The audience consists of angels only, who circle within circle, filling the whole space, and melting into an abyss of light, chant hymns of rejoicing and touch celestial instruments of music. This picture shows how deeply Annibale Carracci had studied Correggio, in the magical chiaro-oscuro, and the lofty but somewhat mannered grace of the figures.
Guido Reni, commonly called 'Guido, was born at Bologna, 1575. His father was a musician, and Guido was intended for the same calling, but finally became a painter and student in the school of the Carracci. He followed Annibale Carracci to Rome, and dwelt there for twenty years.
The above outline of the general conditions of Art in the seventeenth century will suggest the reasons for there being a larger number of women artists in Italy than elsewhere especially as they were pupils in the studios of the best masters as well as in the schools of the Carracci and other centres of art study.
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